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The connection among these three features is clear enough, I think; the use of the present tense is apt, though not necessary, in a mode of autobiography (HDAB) that purports, presumes, or pretends to put the reader in the scene.
One can see, then, why HDAB is a very appealing mode for memoirs of fathers: it offers to render the absent subject present in a kind of concrete, seemingly immediate way.
Conlon-McIvor apparently felt she could do things in present tense HDAB that could not be communicated by standard retrospective narrative technique.
There's an even larger issue, however, in the use of I-IDAB in father memoir insofar as HDAB tends to be focused on narrative at the expense of character and scene at the expense of summary.
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